Melvin Delgado
- Published in print:
- 1999
- Published Online:
- January 2009
- ISBN:
- 9780195125467
- eISBN:
- 9780199864188
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195125467.001.0001
- Subject:
- Social Work, Communities and Organizations
Community social work practice based on a capacity enhancement model offers tremendous potential for unifying communities consisting of groups from very different cultural backgrounds, and in the ...
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Community social work practice based on a capacity enhancement model offers tremendous potential for unifying communities consisting of groups from very different cultural backgrounds, and in the process of doing so, make physical changes in the community. This book emphasizes community and urban social work and explains how to create positive community environments in marginalized urban-based communities. The use of murals, gardens, playgrounds, and sculptures, for example provide social workers with an opportunity to identify, engage, and plan services with communities. These projects, in turn, are based upon a community's strengths and represent an effort at developing a community's capacity to help itself with assistance from professionals.Less
Community social work practice based on a capacity enhancement model offers tremendous potential for unifying communities consisting of groups from very different cultural backgrounds, and in the process of doing so, make physical changes in the community. This book emphasizes community and urban social work and explains how to create positive community environments in marginalized urban-based communities. The use of murals, gardens, playgrounds, and sculptures, for example provide social workers with an opportunity to identify, engage, and plan services with communities. These projects, in turn, are based upon a community's strengths and represent an effort at developing a community's capacity to help itself with assistance from professionals.
Mary Kelly
- Published in print:
- 2020
- Published Online:
- May 2021
- ISBN:
- 9780197266748
- eISBN:
- 9780191938146
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197266748.003.0013
- Subject:
- Art, Art History
Diana Al–Hadid was born in Aleppo, Syria in 1981 and she currently lives and practices her art in Brooklyn, New York. This interview with Al–Hadid is an engagement with just one voice from the Syrian ...
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Diana Al–Hadid was born in Aleppo, Syria in 1981 and she currently lives and practices her art in Brooklyn, New York. This interview with Al–Hadid is an engagement with just one voice from the Syrian diaspora. The text explores the artist’s methods and strategies in art making for the purpose of recording new primary sources in the History of Art, which can be used to generate different ways of understanding Al–Hadid’s sculptures. The various themes discussed in the interview including: the artist’s engagements with materials and materiality; the formal qualities in her art; historical and art historical influences such as the Islamic Golden Age and Old Master painting; her attention to the original and editions; and the three broad spheres of typologies which are located in her oeuvre. In addition, Al–Hadid reveals her various processes of making which lead to the location of the first artistic mark on a new work of art.Less
Diana Al–Hadid was born in Aleppo, Syria in 1981 and she currently lives and practices her art in Brooklyn, New York. This interview with Al–Hadid is an engagement with just one voice from the Syrian diaspora. The text explores the artist’s methods and strategies in art making for the purpose of recording new primary sources in the History of Art, which can be used to generate different ways of understanding Al–Hadid’s sculptures. The various themes discussed in the interview including: the artist’s engagements with materials and materiality; the formal qualities in her art; historical and art historical influences such as the Islamic Golden Age and Old Master painting; her attention to the original and editions; and the three broad spheres of typologies which are located in her oeuvre. In addition, Al–Hadid reveals her various processes of making which lead to the location of the first artistic mark on a new work of art.
Lorna Hardwick and Carol Gillespie (eds)
- Published in print:
- 2007
- Published Online:
- February 2010
- ISBN:
- 9780199296101
- eISBN:
- 9780191712135
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199296101.001.0001
- Subject:
- Classical Studies, World History: BCE to 500CE
Classical material was traditionally used to express colonial authority, but it was also appropriated by imperial subjects to become first a means of challenging colonialism, and then a rich field ...
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Classical material was traditionally used to express colonial authority, but it was also appropriated by imperial subjects to become first a means of challenging colonialism, and then a rich field for creating cultural identities which blend the old and the new. Nobel prize winners such as Derek Walcott and Seamus Heaney have rewritten classical material in their own cultural idioms, while public sculpture in southern Africa draws on Greek and Roman motifs in order to represent histories of African resistance and liberation. These developments are explored in this collection of essays by scholars who debate the relationship between the culture of Greece and Rome, and the changes that have followed the end of colonial empires.Less
Classical material was traditionally used to express colonial authority, but it was also appropriated by imperial subjects to become first a means of challenging colonialism, and then a rich field for creating cultural identities which blend the old and the new. Nobel prize winners such as Derek Walcott and Seamus Heaney have rewritten classical material in their own cultural idioms, while public sculpture in southern Africa draws on Greek and Roman motifs in order to represent histories of African resistance and liberation. These developments are explored in this collection of essays by scholars who debate the relationship between the culture of Greece and Rome, and the changes that have followed the end of colonial empires.
Martin Carver
- Published in print:
- 2008
- Published Online:
- September 2012
- ISBN:
- 9780748624416
- eISBN:
- 9780748670703
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748624416.001.0001
- Subject:
- Archaeology, Historical Archaeology
This book relates the rediscovery of a monastery of the 8th century AD, one of the earliest so far seen in northern Europe. It lies in north-east Scotland in the land of the Picts, a largely ...
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This book relates the rediscovery of a monastery of the 8th century AD, one of the earliest so far seen in northern Europe. It lies in north-east Scotland in the land of the Picts, a largely forgotten people here shown to have been highly intellectual thinkers and consummate artists. The excavation, one of the largest to have taken place in Scotland, revealed burials in stone cists, over 200 pieces of carved stone grave markers and ornamented cross-slabs, workshops making sacred vessels and vellum for holy books, unusual bag-shaped buildings and a water-mill. The book has three parts: “Exploring”, “The Age of Fame” and :“Legacy”. It tells the story of the investigation, describes what was found and what it means for the history of Scotland and the understanding of early religion for us today. The book is provided at the back with a Digest of Evidence, summarising the archaeological finds, layers, features, structures and the results of survey, making it handy for student use at school and university and essential for fellow archaeologists.Less
This book relates the rediscovery of a monastery of the 8th century AD, one of the earliest so far seen in northern Europe. It lies in north-east Scotland in the land of the Picts, a largely forgotten people here shown to have been highly intellectual thinkers and consummate artists. The excavation, one of the largest to have taken place in Scotland, revealed burials in stone cists, over 200 pieces of carved stone grave markers and ornamented cross-slabs, workshops making sacred vessels and vellum for holy books, unusual bag-shaped buildings and a water-mill. The book has three parts: “Exploring”, “The Age of Fame” and :“Legacy”. It tells the story of the investigation, describes what was found and what it means for the history of Scotland and the understanding of early religion for us today. The book is provided at the back with a Digest of Evidence, summarising the archaeological finds, layers, features, structures and the results of survey, making it handy for student use at school and university and essential for fellow archaeologists.
Sebastian Zeidler
- Published in print:
- 2016
- Published Online:
- August 2016
- ISBN:
- 9781501702082
- eISBN:
- 9781501701900
- Item type:
- book
- Publisher:
- Cornell University Press
- DOI:
- 10.7591/cornell/9781501702082.001.0001
- Subject:
- Art, Art History
The German writer and art critic Carl Einstein (1885–1940) has long been acknowledged as an important figure in the history of modern art, and yet he is often sidelined as an enigma. This book ...
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The German writer and art critic Carl Einstein (1885–1940) has long been acknowledged as an important figure in the history of modern art, and yet he is often sidelined as an enigma. This book recovers Einstein's multifaceted career, offering the first comprehensive intellectual biography of Einstein in English. Einstein first emerged as a writer of experimental prose through his involvement with the anarchist journal Die Aktion. After a few limited forays into art criticism, he burst onto the art scene in 1915 with his book Negro Sculpture, at once a formalist intervention into the contemporary theory and practice of European sculpture and a manifesto for the sophistication of African art. Einstein would go on to publish seminal texts on the cubist paintings of Georges Braque and Pablo Picasso. His contributions to the surrealist magazine Documents (which Einstein cofounded with Georges Bataille) including writings on Picasso and Paul Klee, remain unsurpassed in their depth and complexity. In a series of close visual analyses—illustrated with major works by Braque, Picasso, and Klee—the book retrieves the theoretical resources that Einstein brought to bear on their art. It shows us that to rediscover Einstein's art criticism is to see the work of great modernist artists anew through the eyes of one of the most gifted left-wing formalists of the twentieth century.Less
The German writer and art critic Carl Einstein (1885–1940) has long been acknowledged as an important figure in the history of modern art, and yet he is often sidelined as an enigma. This book recovers Einstein's multifaceted career, offering the first comprehensive intellectual biography of Einstein in English. Einstein first emerged as a writer of experimental prose through his involvement with the anarchist journal Die Aktion. After a few limited forays into art criticism, he burst onto the art scene in 1915 with his book Negro Sculpture, at once a formalist intervention into the contemporary theory and practice of European sculpture and a manifesto for the sophistication of African art. Einstein would go on to publish seminal texts on the cubist paintings of Georges Braque and Pablo Picasso. His contributions to the surrealist magazine Documents (which Einstein cofounded with Georges Bataille) including writings on Picasso and Paul Klee, remain unsurpassed in their depth and complexity. In a series of close visual analyses—illustrated with major works by Braque, Picasso, and Klee—the book retrieves the theoretical resources that Einstein brought to bear on their art. It shows us that to rediscover Einstein's art criticism is to see the work of great modernist artists anew through the eyes of one of the most gifted left-wing formalists of the twentieth century.
Stephen Murray
- Published in print:
- 2004
- Published Online:
- March 2012
- ISBN:
- 9780520238473
- eISBN:
- 9780520930070
- Item type:
- book
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520238473.001.0001
- Subject:
- History, European Medieval History
In this book, the author seizes a rare opportunity to explore the relationship between verbal and visual culture by presenting a sermon that may have been preached during the second half of the ...
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In this book, the author seizes a rare opportunity to explore the relationship between verbal and visual culture by presenting a sermon that may have been preached during the second half of the thirteenth century in or near the cathedral of Notre-Dame of Amiens, whose sculptural program was completed at about the same time. In addition to providing a complete transcription and translation of the text, he examines the historical context of the sermon and draws comparisons between its underlying structure and the Gothic portals of the cathedral. In the sermon, as in the cathedral, the author finds a powerful motivational mechanism that invites the repentant sinner to enter into a new contract with the Virgin Mary. The correlation between elements of the sermon's text and the sculptural components of the cathedral leads to an exploration of the socioeconomic conditions in Picardy at the time and a vivid sketch of how the cathedral and its images were used by ordinary people. The author finds parallels in the rhetorical tools used in the sermon, on the one hand, and stylistic and compositional tools used in the sculpture, on the other. In addition to providing a fascinating and cogent consideration of medieval beliefs about salvation and redemption, the book also lays the groundwork for a long-overdue examination of the performative and textual in relationship to sculpture.Less
In this book, the author seizes a rare opportunity to explore the relationship between verbal and visual culture by presenting a sermon that may have been preached during the second half of the thirteenth century in or near the cathedral of Notre-Dame of Amiens, whose sculptural program was completed at about the same time. In addition to providing a complete transcription and translation of the text, he examines the historical context of the sermon and draws comparisons between its underlying structure and the Gothic portals of the cathedral. In the sermon, as in the cathedral, the author finds a powerful motivational mechanism that invites the repentant sinner to enter into a new contract with the Virgin Mary. The correlation between elements of the sermon's text and the sculptural components of the cathedral leads to an exploration of the socioeconomic conditions in Picardy at the time and a vivid sketch of how the cathedral and its images were used by ordinary people. The author finds parallels in the rhetorical tools used in the sermon, on the one hand, and stylistic and compositional tools used in the sculpture, on the other. In addition to providing a fascinating and cogent consideration of medieval beliefs about salvation and redemption, the book also lays the groundwork for a long-overdue examination of the performative and textual in relationship to sculpture.
Andy Rotman
- Published in print:
- 2008
- Published Online:
- January 2009
- ISBN:
- 9780195366150
- eISBN:
- 9780199867882
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195366150.003.0009
- Subject:
- Religion, Buddhism
Chapter 8 reflects further on the role of images in Buddhist worship, and what the sculptures and paintings on Buddhist monuments in South Asia may be able to tell us about the ways of seeing of ...
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Chapter 8 reflects further on the role of images in Buddhist worship, and what the sculptures and paintings on Buddhist monuments in South Asia may be able to tell us about the ways of seeing of premodern Buddhist practitioners. Seeing Buddhist art, it seems, involved quite a bit of listening. The chapter considers more broadly the world of the visual in the Divyāvadāna and offers some suggestions with regard to the social and political transformations that may account for its construction.Less
Chapter 8 reflects further on the role of images in Buddhist worship, and what the sculptures and paintings on Buddhist monuments in South Asia may be able to tell us about the ways of seeing of premodern Buddhist practitioners. Seeing Buddhist art, it seems, involved quite a bit of listening. The chapter considers more broadly the world of the visual in the Divyāvadāna and offers some suggestions with regard to the social and political transformations that may account for its construction.
Carolyn E. Tate
- Published in print:
- 2008
- Published Online:
- January 2009
- ISBN:
- 9780195380040
- eISBN:
- 9780199869077
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195380040.003.0013
- Subject:
- Religion, Religion and Society, World Religions
Among the earliest monumental sculptures of the Americas were depictions of the human fetus. Along with representations of the human embryo, sculptures of the fetus were important subjects in the art ...
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Among the earliest monumental sculptures of the Americas were depictions of the human fetus. Along with representations of the human embryo, sculptures of the fetus were important subjects in the art of the Olmec of Mexico, 1400–400 BCE. This chapter explores the crucial roles of these images in the earliest known narrative—a visual one—of the creation of the world and the origins of human beings in Mesoamerica. The monumental fetus sculptures of La Venta, an archaeological site in the State of Tabasco, Mexico, were players in a underworld ball game. In this context, the fetuses, as metaphors for “life force,” battle the chthonic forces that would usurp that precious vitality. Images of fetuses and embryos in ancient Mexico emerge as metaphors for the ineluctable processes of metamorphosis that life entails.Less
Among the earliest monumental sculptures of the Americas were depictions of the human fetus. Along with representations of the human embryo, sculptures of the fetus were important subjects in the art of the Olmec of Mexico, 1400–400 BCE. This chapter explores the crucial roles of these images in the earliest known narrative—a visual one—of the creation of the world and the origins of human beings in Mesoamerica. The monumental fetus sculptures of La Venta, an archaeological site in the State of Tabasco, Mexico, were players in a underworld ball game. In this context, the fetuses, as metaphors for “life force,” battle the chthonic forces that would usurp that precious vitality. Images of fetuses and embryos in ancient Mexico emerge as metaphors for the ineluctable processes of metamorphosis that life entails.
Lise Manniche
- Published in print:
- 2010
- Published Online:
- September 2011
- ISBN:
- 9789774163494
- eISBN:
- 9781936190065
- Item type:
- book
- Publisher:
- American University in Cairo Press
- DOI:
- 10.5743/cairo/9789774163494.001.0001
- Subject:
- Society and Culture, Middle Eastern Studies
Some of the most fascinating sculptures to have survived from ancient Egypt are the colossal statues of Akhenaten, erected at the beginning of his reign in his new temple to the Aten at Karnak. ...
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Some of the most fascinating sculptures to have survived from ancient Egypt are the colossal statues of Akhenaten, erected at the beginning of his reign in his new temple to the Aten at Karnak. Fragments of more than thirty statues are now known, showing the paradoxical features combining male and female, young and aged, characteristic of representations of this king. Did he look like this in real life? Or was his iconography skillfully devised to mirror his concept of his role in the universe? This book presents the history of the discovery of the statue fragments from 1925 to the present day; the profusion of opinions on the appearance of the king and his alleged medical conditions; and the various suggestions for an interpretation of the perplexing evidence. A complete catalog of all major fragments is included, as well as many pictures not previously published.Less
Some of the most fascinating sculptures to have survived from ancient Egypt are the colossal statues of Akhenaten, erected at the beginning of his reign in his new temple to the Aten at Karnak. Fragments of more than thirty statues are now known, showing the paradoxical features combining male and female, young and aged, characteristic of representations of this king. Did he look like this in real life? Or was his iconography skillfully devised to mirror his concept of his role in the universe? This book presents the history of the discovery of the statue fragments from 1925 to the present day; the profusion of opinions on the appearance of the king and his alleged medical conditions; and the various suggestions for an interpretation of the perplexing evidence. A complete catalog of all major fragments is included, as well as many pictures not previously published.
Yasmin Haskell
- Published in print:
- 2003
- Published Online:
- January 2012
- ISBN:
- 9780197262849
- eISBN:
- 9780191734588
- Item type:
- book
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197262849.001.0001
- Subject:
- Literature, 17th-century and Restoration Literature
This is the first dedicated study of the classical-style, Latin didactic poetry produced by the Society of Jesus in the early modern period. The Jesuits were the most prolific composers of such ...
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This is the first dedicated study of the classical-style, Latin didactic poetry produced by the Society of Jesus in the early modern period. The Jesuits were the most prolific composers of such poetry, teaching all manner of arts and sciences: meteorology and magnetism, raising chickens and children, the arts of sculpture and engraving, writing and conversation, the social and medicinal benefits of coffee and chocolate, the pious life and the urbane life. The book accounts for this investment in so secular a genre by considering the Society's educational and ideological values and practices. Extensive quotation from the poems reveals their literary qualities, compositional methods, and traditions. The poems also command scholarly attention for what they reveal about social, cultural, and intellectual life in this period.Less
This is the first dedicated study of the classical-style, Latin didactic poetry produced by the Society of Jesus in the early modern period. The Jesuits were the most prolific composers of such poetry, teaching all manner of arts and sciences: meteorology and magnetism, raising chickens and children, the arts of sculpture and engraving, writing and conversation, the social and medicinal benefits of coffee and chocolate, the pious life and the urbane life. The book accounts for this investment in so secular a genre by considering the Society's educational and ideological values and practices. Extensive quotation from the poems reveals their literary qualities, compositional methods, and traditions. The poems also command scholarly attention for what they reveal about social, cultural, and intellectual life in this period.
Jana Evans Braziel
- Published in print:
- 2017
- Published Online:
- May 2019
- ISBN:
- 9781496812742
- eISBN:
- 9781496812780
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496812742.001.0001
- Subject:
- Sociology, Culture
On the southern end of the Grand Rue, a major thoroughfare that runs through the center of Port-au-Prince, waits the Haitian capital's automobile repair district. This junkyard of steel and rubber, ...
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On the southern end of the Grand Rue, a major thoroughfare that runs through the center of Port-au-Prince, waits the Haitian capital's automobile repair district. This junkyard of steel and rubber, recycled parts, old tires, and scrap metal might seem an unlikely foundry for art. Yet, on the street's opposite end thrives the Grand Rue Galerie, a working studio of assembled art and sculptures wrought from the refuse. Established by artists André Eugène and Jean Hérard Celeur in the late 1990s, the Grand Rue's urban environmental aesthetics radically challenge ideas about consumption, waste, and environmental hazards, as well as consider innovative solutions to these problems in the midst of poverty, insufficient social welfare, and lack of access to arts, education, and basic needs. This book explores the urban environmental aesthetics of the Grand Rue sculptors and the beautifully constructed sculptures they have designed from salvaged parts and materials. The book constructs an urban ecological framework for understanding these sculptures amid environmental degradation and grinding poverty. The book regards the underdeveloped cities of the global South as alternate spaces for challenging the profit-driven machinations of global capitalism. Above all, the book presents Haitian artists who live on the most challenged Caribbean island, yet who thrive as creators reinventing refuse as art and resisting the abjection of their circumstances.Less
On the southern end of the Grand Rue, a major thoroughfare that runs through the center of Port-au-Prince, waits the Haitian capital's automobile repair district. This junkyard of steel and rubber, recycled parts, old tires, and scrap metal might seem an unlikely foundry for art. Yet, on the street's opposite end thrives the Grand Rue Galerie, a working studio of assembled art and sculptures wrought from the refuse. Established by artists André Eugène and Jean Hérard Celeur in the late 1990s, the Grand Rue's urban environmental aesthetics radically challenge ideas about consumption, waste, and environmental hazards, as well as consider innovative solutions to these problems in the midst of poverty, insufficient social welfare, and lack of access to arts, education, and basic needs. This book explores the urban environmental aesthetics of the Grand Rue sculptors and the beautifully constructed sculptures they have designed from salvaged parts and materials. The book constructs an urban ecological framework for understanding these sculptures amid environmental degradation and grinding poverty. The book regards the underdeveloped cities of the global South as alternate spaces for challenging the profit-driven machinations of global capitalism. Above all, the book presents Haitian artists who live on the most challenged Caribbean island, yet who thrive as creators reinventing refuse as art and resisting the abjection of their circumstances.
David Fearn (ed.)
- Published in print:
- 2010
- Published Online:
- January 2011
- ISBN:
- 9780199546510
- eISBN:
- 9780191594922
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199546510.001.0001
- Subject:
- Classical Studies, Poetry and Poets: Classical, Early, and Medieval
Situated in the centre of the Saronic Gulf, the island of Aegina has long been recognized as a powerful force in the cultural, political, economic, and strategic history of fifth-century Greece. The ...
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Situated in the centre of the Saronic Gulf, the island of Aegina has long been recognized as a powerful force in the cultural, political, economic, and strategic history of fifth-century Greece. The island is well known as the original home of the magnificent Doric architecture and sculpture of the Temple of Aphaia and of many of the patrons of the epinician poets Pindar and Bacchylides; with a thriving maritime economy and an effective navy, Aegina was powerful enough to challenge the security and ambitions of its neighbour Athens, by whom it was reduced to a kleruchy at the start of the Peloponnesian War. Many of the fascinating aspects of the island within the history and culture of fifth-century Greece have, however, been studied separately, rendering a rounded view of the significance of the island, and the significance of the island's choral lyric poetry, difficult. This volume aims to redress the balance by suggesting ways in which the different aspects of the island's make-up can fruitfully be explored together. Eleven chapters by established and younger scholars examine different aspects of the island's nature, and factors which link them: mythological genealogies, economics, cult song, religion, athletics, epinician poetry, inter-state networking, aristocratic politics and culture, art history, and the views of the island offered by classical historiography. The interdisciplinary nature of the volume aims to provide new insights into the diversity and significance of classical Greek history and culture, as well as being suggestive for future research on the cultural and political diversity of classical Greece.Less
Situated in the centre of the Saronic Gulf, the island of Aegina has long been recognized as a powerful force in the cultural, political, economic, and strategic history of fifth-century Greece. The island is well known as the original home of the magnificent Doric architecture and sculpture of the Temple of Aphaia and of many of the patrons of the epinician poets Pindar and Bacchylides; with a thriving maritime economy and an effective navy, Aegina was powerful enough to challenge the security and ambitions of its neighbour Athens, by whom it was reduced to a kleruchy at the start of the Peloponnesian War. Many of the fascinating aspects of the island within the history and culture of fifth-century Greece have, however, been studied separately, rendering a rounded view of the significance of the island, and the significance of the island's choral lyric poetry, difficult. This volume aims to redress the balance by suggesting ways in which the different aspects of the island's make-up can fruitfully be explored together. Eleven chapters by established and younger scholars examine different aspects of the island's nature, and factors which link them: mythological genealogies, economics, cult song, religion, athletics, epinician poetry, inter-state networking, aristocratic politics and culture, art history, and the views of the island offered by classical historiography. The interdisciplinary nature of the volume aims to provide new insights into the diversity and significance of classical Greek history and culture, as well as being suggestive for future research on the cultural and political diversity of classical Greece.
Brian Murdoch
- Published in print:
- 2009
- Published Online:
- May 2009
- ISBN:
- 9780199564149
- eISBN:
- 9780191721328
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199564149.003.0006
- Subject:
- Religion, Religion and Literature
The iconographic tradition is limited and very much in the shade of the biblical Genesis cycles. There is a cycle of Vita Adae illustrations in the manuscript of the German poem by Lutwin from the ...
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The iconographic tradition is limited and very much in the shade of the biblical Genesis cycles. There is a cycle of Vita Adae illustrations in the manuscript of the German poem by Lutwin from the workshop of Diebold Lauber in Alsace, and some other isolated manuscript illustrations. Scenes from the Vita Adae are also found in sculpture on a church at Thann, also in Alsace. There is a wider tradition of Holy Rood iconography.Less
The iconographic tradition is limited and very much in the shade of the biblical Genesis cycles. There is a cycle of Vita Adae illustrations in the manuscript of the German poem by Lutwin from the workshop of Diebold Lauber in Alsace, and some other isolated manuscript illustrations. Scenes from the Vita Adae are also found in sculpture on a church at Thann, also in Alsace. There is a wider tradition of Holy Rood iconography.
John E. Cort
- Published in print:
- 2009
- Published Online:
- February 2010
- ISBN:
- 9780195385021
- eISBN:
- 9780199869770
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195385021.003.0002
- Subject:
- Religion, Religion and Society, World Religions
This chapter presents a thorough overview of the scholarly evidence from archaeology (both images and inscriptions) and Jain texts concerning the earliest history of Jina images. According to the ...
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This chapter presents a thorough overview of the scholarly evidence from archaeology (both images and inscriptions) and Jain texts concerning the earliest history of Jina images. According to the present scholarly understanding, the Jina image emerged from the Buddha image in the region around Mathura. Jina images were in existence possibly in the second century BCE, and certainly by the early years of the first century BCE. The earliest images are of stone, and there is little convincing evidence for a pre‐stone image tradition in other media. Bronze Jina images emerge slightly later. Textual evidence comes later than archaeological evidence, and shows that by the early centuries CE the Jains had developed an elaborate ritual culture of Jina images. Art historians have often complained of the relative lack of variety in the iconography of Jina images. The chapter directly addresses this critique, and by framing an understanding of the Jina image in the twentieth‐century Minimalist style shows how geometrical and symmetrical minimalism have allowed the Jains to express the Jain ideals of perfection in plastic form. The chapter concludes with a brief description of the rituals of worship and veneration of Jina images.Less
This chapter presents a thorough overview of the scholarly evidence from archaeology (both images and inscriptions) and Jain texts concerning the earliest history of Jina images. According to the present scholarly understanding, the Jina image emerged from the Buddha image in the region around Mathura. Jina images were in existence possibly in the second century BCE, and certainly by the early years of the first century BCE. The earliest images are of stone, and there is little convincing evidence for a pre‐stone image tradition in other media. Bronze Jina images emerge slightly later. Textual evidence comes later than archaeological evidence, and shows that by the early centuries CE the Jains had developed an elaborate ritual culture of Jina images. Art historians have often complained of the relative lack of variety in the iconography of Jina images. The chapter directly addresses this critique, and by framing an understanding of the Jina image in the twentieth‐century Minimalist style shows how geometrical and symmetrical minimalism have allowed the Jains to express the Jain ideals of perfection in plastic form. The chapter concludes with a brief description of the rituals of worship and veneration of Jina images.
Guy Hedreen
- Published in print:
- 2010
- Published Online:
- January 2011
- ISBN:
- 9780199546510
- eISBN:
- 9780191594922
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199546510.003.0010
- Subject:
- Classical Studies, Poetry and Poets: Classical, Early, and Medieval
This chapter discusses Pindar's Paean 6 and its mythology in the light of contemporary art, especially sculpture. The Aphaia pediments and Pindar's poem enhance Aegina's heroes, while engaging with ...
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This chapter discusses Pindar's Paean 6 and its mythology in the light of contemporary art, especially sculpture. The Aphaia pediments and Pindar's poem enhance Aegina's heroes, while engaging with the mythology of the fall of Troy. The Aphaia pediments rethink the pictorial conventions of the last night of Troy, and put the pairing of pediments of equal scale to good semantic use to suggest that the first Trojan War was at least as significant as the famous second campaign. With Paean 6 there was no denying Apollo's involvement in the deaths of Achilles and Neoptolemos; but by emphasizing Apollo's interest in Troy as a motivation for his actions, it was possible to avoid mention of the ugliest deeds attributed to those two heroes. Pindar also tightened the links between the Trojan War, the Delphic Theoxenia, and the Aeginetan cult of Zeus Hellanios, through emphasis on the pious Aeginetan culture-hero Aiakos.Less
This chapter discusses Pindar's Paean 6 and its mythology in the light of contemporary art, especially sculpture. The Aphaia pediments and Pindar's poem enhance Aegina's heroes, while engaging with the mythology of the fall of Troy. The Aphaia pediments rethink the pictorial conventions of the last night of Troy, and put the pairing of pediments of equal scale to good semantic use to suggest that the first Trojan War was at least as significant as the famous second campaign. With Paean 6 there was no denying Apollo's involvement in the deaths of Achilles and Neoptolemos; but by emphasizing Apollo's interest in Troy as a motivation for his actions, it was possible to avoid mention of the ugliest deeds attributed to those two heroes. Pindar also tightened the links between the Trojan War, the Delphic Theoxenia, and the Aeginetan cult of Zeus Hellanios, through emphasis on the pious Aeginetan culture-hero Aiakos.
James Watson
- Published in print:
- 2010
- Published Online:
- January 2011
- ISBN:
- 9780199546510
- eISBN:
- 9780191594922
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199546510.003.0003
- Subject:
- Classical Studies, Poetry and Poets: Classical, Early, and Medieval
This chapter discusses the Sanctuary of Aphaia, its cultic associations, and the sculptural decoration of the temple, in the context of early fifth-century history. Aphaia's characteristics as a ...
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This chapter discusses the Sanctuary of Aphaia, its cultic associations, and the sculptural decoration of the temple, in the context of early fifth-century history. Aphaia's characteristics as a local, kourotrophic deity with links to maritime and military affairs made her sanctuary a most suitable location for the Aeginetans to choose to express their rivalry with Athens. It is that rivalry which best explains the history of the sanctuary, including the Athenian decision to allow the sanctuary to fall into neglect once they had expelled the Aeginetans from their island at the start of the Peloponnesian War. By using and contextualizing all of the evidence available from the site, this chapter illuminates not only the Sanctuary of Aphaia itself, but also Athens and Aegina, the rivalry between them, and the ways in which such rivalries could be expressed in the ancient Greek world.Less
This chapter discusses the Sanctuary of Aphaia, its cultic associations, and the sculptural decoration of the temple, in the context of early fifth-century history. Aphaia's characteristics as a local, kourotrophic deity with links to maritime and military affairs made her sanctuary a most suitable location for the Aeginetans to choose to express their rivalry with Athens. It is that rivalry which best explains the history of the sanctuary, including the Athenian decision to allow the sanctuary to fall into neglect once they had expelled the Aeginetans from their island at the start of the Peloponnesian War. By using and contextualizing all of the evidence available from the site, this chapter illuminates not only the Sanctuary of Aphaia itself, but also Athens and Aegina, the rivalry between them, and the ways in which such rivalries could be expressed in the ancient Greek world.
Debbie Challis
- Published in print:
- 2010
- Published Online:
- January 2011
- ISBN:
- 9780199584727
- eISBN:
- 9780191595301
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199584727.003.0005
- Subject:
- Classical Studies, European History: BCE to 500CE
This chapter considers how the idealization of the human body in Greek art, as defined by Winckelmann, fed the theory that physical beauty and racial perfection were to be found among the ancient ...
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This chapter considers how the idealization of the human body in Greek art, as defined by Winckelmann, fed the theory that physical beauty and racial perfection were to be found among the ancient Greeks. Concentrating on the printed work and lectures of Robert Knox in the 1840s and 1850s, it considers how views on racial theory where formed and disseminated as well as the implications of Knox's use of Greek sculpture. It then considers how links were made between the ancient Greeks and contemporary ‘races’, or ‘types of mankind’, such as Saxons in Britain, and how this related to various claims to ownership of the classical past. It finishes with a brief overview of the geneticist Francis Galton's attitude towards the ancient Greeks and how this fed his views on emigration and the wider idea of ‘Greater Britain’.Less
This chapter considers how the idealization of the human body in Greek art, as defined by Winckelmann, fed the theory that physical beauty and racial perfection were to be found among the ancient Greeks. Concentrating on the printed work and lectures of Robert Knox in the 1840s and 1850s, it considers how views on racial theory where formed and disseminated as well as the implications of Knox's use of Greek sculpture. It then considers how links were made between the ancient Greeks and contemporary ‘races’, or ‘types of mankind’, such as Saxons in Britain, and how this related to various claims to ownership of the classical past. It finishes with a brief overview of the geneticist Francis Galton's attitude towards the ancient Greeks and how this fed his views on emigration and the wider idea of ‘Greater Britain’.
Robert DeCaroli
- Published in print:
- 2004
- Published Online:
- January 2005
- ISBN:
- 9780195168389
- eISBN:
- 9780199835133
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/0195168380.003.0004
- Subject:
- Religion, Buddhism
Images of popular demigods and minor deities are shown to dominate the decoration of early Buddhist sites to the exclusion of almost any other subject matter. In particular, an iconographic study of ...
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Images of popular demigods and minor deities are shown to dominate the decoration of early Buddhist sites to the exclusion of almost any other subject matter. In particular, an iconographic study of the remains of the monastery from Bharhut reveals a process of superimposition wherein the spirit‐deities have been moved to the periphery of the sacred space and the center is reserved for the Buddhist relic alone. When this information is coupled with new evidence demonstrating that these monasteries were largely built over locations (like cemeteries and hills) that were understood as being the abodes of specific minor deities, it becomes clear that the Buddhist community is making a potent statement of religious authority though its architecture. Significantly, this hierarchy expressed in sculpture parallels the claims of authority made in the legendary literature.Less
Images of popular demigods and minor deities are shown to dominate the decoration of early Buddhist sites to the exclusion of almost any other subject matter. In particular, an iconographic study of the remains of the monastery from Bharhut reveals a process of superimposition wherein the spirit‐deities have been moved to the periphery of the sacred space and the center is reserved for the Buddhist relic alone. When this information is coupled with new evidence demonstrating that these monasteries were largely built over locations (like cemeteries and hills) that were understood as being the abodes of specific minor deities, it becomes clear that the Buddhist community is making a potent statement of religious authority though its architecture. Significantly, this hierarchy expressed in sculpture parallels the claims of authority made in the legendary literature.
Steven Jacobs, Susan Felleman, Vito Adriaensens, and Lisa Colpaert
- Published in print:
- 2017
- Published Online:
- May 2020
- ISBN:
- 9781474410892
- eISBN:
- 9781474438469
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474410892.001.0001
- Subject:
- Film, Television and Radio, Film
Sculpture is an artistic practice that involves material, three-dimensional, and generally static objects, whereas cinema produces immaterial, two-dimensional, kinetic images. These differences are ...
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Sculpture is an artistic practice that involves material, three-dimensional, and generally static objects, whereas cinema produces immaterial, two-dimensional, kinetic images. These differences are the basis for a range of magical, mystical and phenomenological interactions between the two media. Sculptures are literally brought to life on the silver screen, while living people are turned into, or trapped inside, statuary. Sculpture motivates cinematic movement and film makes manifest the durational properties of sculptural space. This book will examine key sculptural motifs and cinematic sculpture in film history through seven chapters and an extensive reference gallery, dealing with the transformation skills of "cinemagician" Georges Méliès, the experimental art documentaries of Carl Theodor Dreyer and Henri Alekan, the statuary metaphors of modernist cinema, the mythological living statues of the peplum genre, and contemporary art practices in which film—as material and apparatus—is used as sculptural medium. The book’s broad scope and interdisciplinary approach is sure to interest scholars, amateurs and students alike.Less
Sculpture is an artistic practice that involves material, three-dimensional, and generally static objects, whereas cinema produces immaterial, two-dimensional, kinetic images. These differences are the basis for a range of magical, mystical and phenomenological interactions between the two media. Sculptures are literally brought to life on the silver screen, while living people are turned into, or trapped inside, statuary. Sculpture motivates cinematic movement and film makes manifest the durational properties of sculptural space. This book will examine key sculptural motifs and cinematic sculpture in film history through seven chapters and an extensive reference gallery, dealing with the transformation skills of "cinemagician" Georges Méliès, the experimental art documentaries of Carl Theodor Dreyer and Henri Alekan, the statuary metaphors of modernist cinema, the mythological living statues of the peplum genre, and contemporary art practices in which film—as material and apparatus—is used as sculptural medium. The book’s broad scope and interdisciplinary approach is sure to interest scholars, amateurs and students alike.
Ida Östenberg
- Published in print:
- 2009
- Published Online:
- September 2009
- ISBN:
- 9780199215973
- eISBN:
- 9780191706851
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199215973.003.0004
- Subject:
- Classical Studies, European History: BCE to 500CE
It is generally assumed that a ‘triumphal painting’ glorified and commemorated the general's martial deeds by way of a twofold display: first in his triumphal procession, later in a temple or a ...
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It is generally assumed that a ‘triumphal painting’ glorified and commemorated the general's martial deeds by way of a twofold display: first in his triumphal procession, later in a temple or a public place. This chapter argues that commemorative paintings placed in temples and public places were made directly for static display and not for show in the triumphal processions. Battle scenes in the triumphs were other kinds of representations, produced in various media, such as models, sculptures, and dramatic tableaux. Besides war scenes, the triumph included personifications of peoples and rivers that were staged as living captives. Representations of cities, on the other hand, were shown primarily as models of rich materials, such as ivory and silver. The preference for models over personifications reveals a Roman fear of offending the gods by displaying divine, or quasi-divine beings such as cities as living creatures in fetters.Less
It is generally assumed that a ‘triumphal painting’ glorified and commemorated the general's martial deeds by way of a twofold display: first in his triumphal procession, later in a temple or a public place. This chapter argues that commemorative paintings placed in temples and public places were made directly for static display and not for show in the triumphal processions. Battle scenes in the triumphs were other kinds of representations, produced in various media, such as models, sculptures, and dramatic tableaux. Besides war scenes, the triumph included personifications of peoples and rivers that were staged as living captives. Representations of cities, on the other hand, were shown primarily as models of rich materials, such as ivory and silver. The preference for models over personifications reveals a Roman fear of offending the gods by displaying divine, or quasi-divine beings such as cities as living creatures in fetters.
